Review | A Certain Ratio at The Wedgewood Rooms, Southsea: 'Brimming with confidence'

Having secured our entrance by cajoling a student to sign us in, it was definitely the highlight of our week. A guaranteed floor-filler was Shack Up byJoy Division's Factory labelmates A Certain Ratio – a veritable call to arms slab of brooding funk that seemed somewhat at odds with the decaying Britain at the time.

Remarkably, 40 years on the band are still going strong having just released their 13th album, It All Comes Down To This, produced by Wet Leg/Fontaines DC producer Dan Carey. Brimming with confidence the band play it in full tonight at the Wedgewood Rooms.

The three core members of the band remain to this day – Jez Kerr, originally on bass, has taken over lead vocal duties, whilst Martin Moscrop and Donald Johnson effortlessly switch between guitar, bass and drums.

Playing so much new material can often test the audiences patience but tonight the predominantly male, slightly greying and sporting facial hair, probably Radio 6 listeners, absorb the new sounds with aplomb.

Opening with the title track (naturally) Johnson on drums sets down the groove, upon which Moscrop can lay down his angular guitar riffs.

While the band have certainly moved on from the overtly funky sound of their earlier material there are enough of the recognisable ACR tropes which define the band to delight the audience.

The last track Dorothy Says is preceded by a message from former Smiths guitarist Johnny Marr, outlining the influence the band had on emerging Manchester bands.

With the formality of the new album over and done with they promise a delve into the archive starting with Doing The Du from 1980’s debut album The Graveyard and Ballroom.

A few more tracks in and there is more than a hint of shuffling feet among the audience and unsurprisingly it’s the aforementioned Shack Up which gets the biggest reaction. I must confess to my shame I have only just realised it is a cover by a band called Banbarra, originally released in 1975. Both versions stand up on their own merit.

Set closer is Knife Slits Water, with Johnson switching to bass for a virtuoso muscular workout. A fitting end to the night.